on se tait – English Translation – Keybot Dictionary
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www.springer.group
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On connait bien le tempérament des colériques alors
on se tait
.
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taoscopy.com
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One knows well the temperament of the angry so they say nothing.
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ec.jeita.or.jp
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où l’
on se tait
avec obstination quand il est
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medjugorje.ws
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their obedience to God. Obedience within
www.sounddimensionsmusic.com
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Il me plaît de l’appeler Le Mont de la Mère. Là, on écoute bien et
on se tait
en profondeur, on peut sentir sa respiration, son souffle léger et délicat qui caresse la peau, qui vous pénètre les os et vous fait sentir son baiser maternel.
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pda.medjugorje.ws
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All this can be seized when at Medjugorje our feet quickly climb over the stones of the hill where Mary appeared 25 years ago: Podbrdo, which I like to call Mother’s Hill. If you listen carefully, in the silence of your heart, you will hear her breathing, ever so lightly, as she caresses and embraces you; and you will feel her motherly kiss. She will speak to you, to make you feel her invisible yet absolutely real presence. And when you descend from the hill you will say in your heart: “Mary is here. I met her; for she called me, awaited me, and embraced me.”
www.odeaanaude.eu
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En effet, l’intérêt de produire un objet d’art est qu’il puisse rendre raison de lui-même, s’autolégitimer de par sa propre autonomie. Face à l’objet, on admire et
on se tait
, se disant «Voilà pourquoi il fallait bien le produire, voilà bien le génie de l’artiste de l’avoir compris!».
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micheldebroin.org
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The coherence of all of this resides in the question of being and non-being. We are presented with an object where there should not be anything, and there where there should be a presence we are given nothing to listen to. As a result the question “Why is there something, rather than nothing?” does not find its answer in the presence of the object, contrary to what art history up until modern art and even beyond would claim. In fact, the point of producing an art object is that it is self explanatory, it can legitimate itself though its own autonomy. Before the object, one admires silently, saying to oneself “This is why this had to be created; indeed, the genius of the artist is to have understood this!” But Michel de Broin’s objects remain ontologically problematic, they are intrinsically paradoxical. Before them the question of “Why something rather than nothing?” is once again raised and left open.